History 324 Renaissance Art Slides

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History 324Renaissance Art Slides

• High Renaissance Art Botticelli and Leonardo da
  Vinci

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Sandro Botticelli, Adoration of the Magi
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Sandro Botticelli, Adoration of the Magi
(detail) c. 1475, Tempera on panel, Galleria
degli Uffizi, Florence
Giuliano de Medici
Cosimo de Medici venerates baby Jesus
Giovanni and Piero de Medici
Lorenzo de Medici
Botticelli self-portrait
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Sandro Botticelli, Portrait of a Man with a Medal
of Cosimo the Elderc. 1474Tempera on panel,
Galleria degli Uffizi, Florence Botticelli
painted numerous portraits, a new style of
painting he helped to popularize. This young man
has not been definitively identified.
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Sandro Botticelli, Primavera, c. 1482Tempera on
panel, Galleria degli Uffizi, Florence
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Sandro Botticelli, Primavera (detail), c.
1482 Tempera on panel, Galleria degli Uffizi,
Florence The Three Graces dance a bassa danza
(left) Cupid, Venus, and Flora celebrate Spring
(right)
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Sandro Botticelli, The Birth of Venus, c.
1485Tempera on canvas, Galleria degli Uffizi,
Florence Venus is born from the sea and carried
to shore by the Wind God Zephyrus.
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Sandro Botticelli, The Birth of Venus (detail),
c. 1485Tempera on canvas, Galleria degli Uffizi,
Florence Botticelli used gold pigment to
highlight Venus hair. Her lyrical shape, long
neck, sloping shoulders, and harmonious gaze are
rendered with incomparable delicacy.
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Andrea Verrocchio and Leonardo da Vinci, Baptism
of Christ (detail) 1472-75 Galleria degli Uffizi,
Florence
Leonardo was an apprentice to Verrocchio and
painted the angel on the left in an important
painting about the baptism of Jesus.
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Leonardo da Vinci, Annunciation1472-75, Tempera
on wood, Galleria degli Uffizi, Florence In this
Annunciation, Mary is portrayed as reflecting
on the angel Gabriels messageno longer
disquieted, she thinks it over.
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Leonardo da Vinci, Virgin of the Rocks1483-86,
Oil on panel, Musée du Louvre, Paris Mary (in
blue) sits with infant John the Baptist and
reaches her hand over a seated baby Jesus. An
angel (in red) steadies Jesus and points to John,
the precursor. Note especially Leonardos
Sfumato technique and the amazing dark and heavy
rocks.
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Leonardos Notebooks Vitruvian Man, 1492 Pen,
ink, watercolour and metalpoint on paperGallerie
dell'Accademia, Venice
Leonardo wrote right to left and backwards (and
also in Italian)
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Leonardo da Vinci, Study of five grotesque
headsc. 1494 Pen and ink on paper Royal
Library, Windsor
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Leonardo da Vinci, Plans for Giant Crossbow and
Multi-barrell Gun1480-82, Drawings Biblioteca
Ambrosiana, Milan
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Leonardo da Vinci, Drawings of Water Lifting
Devices1480-82 Biblioteca Ambrosiana, Milan
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Leonardo da Vinci, Heart and its Blood
VesselsDrawing Biblioteca Ambrosiana, Milan
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Leonardo da Vinci, Anatomical studies of a male
shoulder1509-10 Pen and ink on paper Royal
Library, Windsor
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Leonardo da Vinci, Studies of embryos1509-14 Bla
ck and red chalk, pen and ink wash on paper,
Royal Library, Windsor
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Leonardo da Vinci, The Last Supper1498, Convent
of Santa Maria delle Grazie, Milan This painting
was created on a Milan monastery wall using an
experimental technique (mixing oil with fresco
plaster). It began to fall apart in Leonardos
life time.
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Leonardo da Vinci, The Last Supper (detail),
1498 The Da Vinci Code??? Fiction writer Dan
Brown has made a lot of money suggesting that the
disciple to the left of Jesus (John) is actually
Mary Magdalene, and wears clothing similar to
Jesus to show their true relationship. What do
you think?
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Leonardo da Vinci, Mona Lisac. 1503-5Oil on
panel Musée du Louvre, Paris The word Mona is a
term of respect for an aristocratic person, which
means something like my lady. Was this the
prominent Florentine woman named Lisa di Antonio
Maria Gherardini? No one quite knows...
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Leonardo da Vinci, The Virgin and Child with St
Annec. 1510Oil on woodMusée du Louvre,
Paris St. Anne is seated, with Mary on her lap,
and Jesus in front (the Good Shepherd and
sacrificial lamb). In addition to its beauty and
sweetness, notice the interesting rock formations
(again) and Sfumato effects.
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Leonardo da Vinci, St John the Baptist1513-16Oil
on panel Musée du Louvre, Paris Leonardo
depicts John as pointing to Christ. What is
technically impressive here is his use of light
and darkness. Few painters of the Renaissance
were ready to use so much shadow highlighting
(sfumato) and outright darkness to create their
effects.